DOCUMENT RESUME

ED 470 899 PS 030 769

AUTHOR Shuster, Claudia

TITLE Emotions Count: Scaffolding Children's Representations ofThemselves and Their Feelings To Develop EmotionalIntelligence.

PUB DATE 2000-11-00NOTE 10p.; In: Issues in Early Childhood Education: Curriculum,

Teacher Education, & Dissemination of Information.Proceedings of the Lilian Katz Symposium (Champaign, IL,November 5-7, 2000); see PS 030 740.

AVAILABLE FROM For full text: http://ericeece.org/pubs/books/katzsym/shuster.pdf.

PUB TYPE' Reports - Descriptive (141) Speeches/Meeting Papers (150)EDRS PRICE EDRS Price MF01/PC01 Plus Postage.DESCRIPTORS Reggio Emilia Approach; Developmental Stages; *Emotional

Development; *Emotional Intelligence; Learning Processes;Multiple Intelligences; Scaffolding (Teaching Technique);Social Cognition; Social Development; *Young Children

ABSTRACT

Noting that linguistic intelligence is often the primaryfocus of teaching young children, this paper examines the relationshipbetween children's learning and their social-emotional development. The paperfirst describes the preschools of Reggio Emilia and the theory of multipleintelligences. The paper then synthesizes research on children's emotionaldevelopmentrecognition of young children as "emotional compatriots" and therelated importance of developing their emotional intelligence, the role ofadult scaffolding to support children's development, and the intensificationof children's learning when they represent their thinking in multiple media.A curriculum process is then highlighted that enables teachers to developyoung children's emotional intelligence. The process engages teachers insupporting young children to identify and express their feelings and relatedexperiences in multiple ways. The paper describes the curriculum process andspecific scaffolding strategies teachers can use to support students'efforts. Elements in the curriculum process include storytelling, drawingself-portraits and action pictures, and story writing. The culminatingactivity,' "Story Circle," provides a forum for children to share and discusstheir work with peers. The paper concludes by noting that the range ofrepresentational opportunities embedded in this process enables children witha variety of intelligences to identify and share their feelings in meaningfulways. (Author/HTH)

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Emotions Count: 1

Scaffolding Children's Representationsof Themselves and Their Feelingsto Develop Emotional Intelligence

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Claudia Shuster

AbstractFollowing a discussion of the pre-schools of Reggio Emilia and the theoryof multiple intelligences, this paper syn-thesizes research on children's emo-tional developmentrecognition ofyoung children as "emotional compa-triots" and the related importance ofdeveloping their emotional intelligence,the role of adult scaffolding to supportchildren's development, and the inten-sification of children's learning whenthey represent their thinking in multiplemedia. The paper then describes a cur-riculum process that enables teachersto develop young children's emotionalintelligence. The process engagesteachers in supporting young childrento identify and express their feelingsand related experiences in multipleways. The paper describes the curricu-lum process and specific scaffoldingstrategies teachers can use to supportstudents' efforts. Elements in the cur-riculum process include storytelling,drawing self-portraits and action pic-tures, and story writing. The culminat-ing activity, "Story Circle," provides aforum for children to share and discusstheir work with peers. The range of rep-resentational opportunities embeddedin this process enables children with avariety of intelligences to identify andshare their feelings in meaningful ways.

The Preschools of Reggio Emilia and theImportance of Multiple Intelligences

The Hundred Languages of Children (Malaguzzi, 1996) is a metaphorfor the myriad ways in which young children learn and communicate. Itis an image that represents the underlying philosophy of the preschoolsof Reggio Emilia, Italy, the most highly esteemed early childhood pro-grams in the world. The pedagogy of Reggio Emilia emphasizes thedynamic collaboration of young children and teachers, working togetherin projects that support the "Hundred Languages," projects in whichchildren represent themselves, their feelings, and their understanding oftheir world in multiple ways.

Howard Gardner (1993) has described the schools of Reggio Emilia as"remarkable... [places where] teachers know how to listen to children,how to allow them to take initiative, and yet how to guide them inproductive ways" (pp. ix-xi). He commends them as educational envi-ronments that pay "attention to cognitive growth and concern withmatters of temperament, feelings and spirit" (p. xiii).

Gardner's (1983) theory of multiple intelligences is in synchrony with theReggio philosophy. He proposes that intelligence is composed not of onebut of several separate modalities. Gardner suggests that these multipleintelligences are not fixed at birth but are plastic. Thus, experiences canhave a significant impact on their development. Gardner encourageseducators to provide opportunities that stimulate children to develop all oftheir intelligences. Expanding on this theory, Forman (1994) suggests thatchildren learn more deeply when they have opportunities to representtheir thinking in multiple media.

Unfortunately, linguistic intelligence is often the primary focus of teach-ing young children (Malaguzzi, 1996); many teachers ignore the impor-tance of facilitating the development of the others (Shuster & Rarey,1998). This oversight is currently being challenged. For exampleGoleman (1995) proposes that emotional intelligence, the combination ofintrapersonal intelligence (the ability to understand one's thoughts,feelings, and actions) and interpersonal intelligence (the ability to under-stand other people's thoughts, feelings, and actions), plays a crucial role

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286 Claudia Shuster

in both personal and work life. He emphasizes theimportance of increasing the level of social andemotional competence in children as part of theirregular educational program and reports on severalrecent efforts to develop emotional intelligence inschool settings.

Recognition and Support of YoungChildren's Emotional Life

Psychologist David Elkind (1993) proposes that adultsoften fail to detect that children are our "emotionalcompatriots." Perhaps because young children thinkso differently from adults, we are likely to maintainthe mistaken belief that children do not have thesame feelings as adults or we may minimize ortrivialize the significance of young children's day-to-day experiences and the power of their relatedemotions. As a result, we may fail to recognize,acknowledge, or respond to children's feelings.Research on American boys (Pollack, 1998) suggeststhat we are likely to compound our error with boys byactively teaching them to suppress their feelings andavoid expressing them. The efforts to developchildren's emotional intelligence reported by Goleman(1995) may be in part a response aimed at reversingthese cultural patterns.

The Relationship of Learning toSocial-Emotional Content

Other researchers have examined the relationshipbetween children's academic learning and the social-emotional content of their activities. According toFivush (1997), children remember more accuratelyand are more competent in discussing past eventswhen they have an emotional connection to thoseevents. In addition, when youngsters have opportuni-ties to engage in stories or activities with meaningfulemotional content, their writing and speaking follow-ing these experiences are more detailed, moreaccurate, and more coherent (Liwag & Stein, 1995;Risemberg & Zimmerman, 1992). Children's dramati-zation of an emotional reaction, for example throughrole play, also seems to have a positive influence;children who participate in these kinds of activitiesuse more advanced vocabulary and more sophisti-cated grammar when they are involved in other typesof activities (Vedeler, 1997).

Role of Scaffolding to SupportChildren's Learning

In the preschools of Reggio Emilia, the teacherfocuses on provoking discovery and learning "througha kind of alert, inspired facilitation and stimulation ofchildren's dialogue, co-action, and co-construction ofknowledge" (Edwards, 1993, p. 154). In this role, theteacher scaffolds children's thinking and feeling byproviding support that is sensitively attuned to thechild's current level of competencies (Wood &Middleton, 1975; Wood, Bruner, & Ross, 1976). Thissupport often takes the form of teacherchild dis-course in which the adult questions, summarizes,clarifies, and predicts to encourage the child'sexplorations, representations, and thinking (Berk &Winsler, 1995).

Development of a Curriculum Process

Based upon the synthesis of this researchthetheory of multiple intelligences (Gardner, 1983);recognition of young children as "emotional compatri-ots" (Elkind, 1993) and the related importance ofdeveloping their emotional intelligence (Goleman,1995); the role of adult scaffolding to supportchildren's development (Wood & Middleton, 1975;Wood, Bruner, & Ross, 1976); and the intensificationof children's learning when they represent theirthinking in multiple media (Forman, 1994)-1 havedeveloped a curriculum process to enhance youngchildren's emotional intelligence. It provides opportu-nities for 6- to 7-year-old children to identify andrepresent themselves, their experiences, and theiremotions in multiple ways and to develop empathy fortheir peers by their participation in the mutual processof sharing and discussing their representations. Inaddition, I have analyzed and identified four scaffold-ing strategies that I utilized to support the children'sinvolvement in the curriculum process.

In a pilot study (1998-1999), I investigated severalteaching strategies based upon the work of thepreschools of Reggio Emilia and an exploration of theknowledge base related to teacher scaffoldingstrategies. The initial strategies that I utilized includedasking children provocative questions, encouragingthem to observe themselves carefully in a mirror andthink deeply, and providing multiple means for them to

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express their feelings. In my work with 20 first-graders, I identified some resistance to their sharingfeelings. For example, several 6- to 7-year-old boystold me that they are never sad, angry, and/or scaredand refused to represent these feelings. Otherchildren simply remained silent. I attempted toengage these youngsters by sharing an autobiographi-cal story from my childhood to evoke a specificfeeling. When successful, this strategy resulted intheir sharing stories that seemed to mimic mine ratherthan describing their own most powerful experiencerelated to the emotion we were addressing.

In response, I have investigated and developed newways to change this pattern of denial and suppressionand to help young children recognize and expresstheir feelings and related experiences. These activi-ties involve the multiple forms of representationutilized in Reggio Emilia and emulated by Americaneducators who reflect this tradition in a systematicway (Edwards, Gandini, & Forman, 1993; Forman,1994).

The process I developed includes activities for 6- to7-year-old youngsters that are implemented at leastweekly by their teacher. The teacher supports thechildren's development of emotional intelligence byengaging them in work that helps them (1) to bemore aware of their own emotions and the experi-ences that make them feel this way; (2) to representtheir emotions through storytelling, self-portraits andother drawings, and writing or dictation; (3) to sharetheir experiences and representations with peers; (4)to recognize, respect, and show empathy for otherchildren's shared stories and related emotions; and(5) to use language and other effective, non-aggres-sive strategies to express their emotions and get theirneeds met. These elements are all critical in thedevelopment of emotional intelligence.

Before initiating the process, I asked the children tocreate self-portraits on their own. The children's firstefforts provided a baseline to compare with theirfuture work while engaged in the process with meover the next months. The children each completed aself-portrait (a drawing of their own face) on theirown without adult presence; I provided no prompts orscaffoldingjust paper, pencils, and crayons. Then Ihad the children each complete a self-portrait by

4

providing a large mirror that enabled them to observecarefully in addition to paper, pencil, and crayons.

The Process

The process includes a series of eight steps:

Triggering Emotions with a Photograph

The process starts with the teacher's triggeringchildren's memories by sharing a photograph of anexpressive child and then encouraging the children todemonstrate or describe the facial expression of thechild in the photo. Sharing a picture of a smiling child,I asked questions like, "How is this little boy feel-ing?" followed by "how can you tell?" Children'sresponses included "Happy; he is smiling...you cansee his teeth...."

Storytelling about the Photograph

Then the teacher asks each child to tell a story aboutwhy the child in the photo may feel this way. Childrenmentioned events that they associated with plea-surefor example, eating a favorite food, playing agame, shopping for a favorite toy. When I providedtime for deeper thinking, the youngsters also sharedmore significant experiences related to shared familyactivities such as birthdays, holiday celebrations,family outings, and vacations.

Storytelling about Yourself

Next the teacher asks the children to share a story ofa time when they each felt the same way as the childin the photograph. For example, when I discussedfeeling scared, some children talked about gettinglost, getting accidentally locked in a room, being sickin the hospital, or fears related to the first day ofschool.

Observing Yourself in the Mirror

After each child has shared a personal story, thechildren look in a large mirror and describe their ownfacial expression related to the feeling in their story.For example, Evan shared [my lip] "gets allcrumpley" [when I am sad]. Jimmy described "I looklike a vampire when I look mean [to describe hisangry expression]" (see Figure 1).

288

Figure 1. Children observing themselves in mirror whileteacher scaffolds.

Drawing Self-portraits

Once the children have observed themselves in themirror, they draw self-portraits that express theiremotion. Some make observations as they stare in themirror and draw. For example, Carol suggested, "I'mso angry that I'm so hot that I'm sweating [as shedrew water droplets on her self-portrait].... I havethese bumps that come out [pointing to swelling in herthroat that she reproduced in her drawing]." Jose,observing and representing his furious expression,said, "I look like a cobra eye" (see Figure 2).

Drawing Action Pictures

Some children seem to find it easier to identify andshare their experiences and emotions by representingthe details of the event that precipitated their feeling.Therefore, the children also have the opportunity todraw a picture of the action of their story. Forexample, Maria drew a picture of her father insidethe garage while she stood in her house shouting"Dad, Dad," expressing her fear that that she hadbeen left all alone. Jose, angry that he couldn't ridehis bike because of the bad weather, drew a pictureof his bike parked in the driveway in front of thefamily car outside his grandmother's house with a skyfilled with rain and lightning. Rather than focusing onthe details of his sad facial expression in a self-portrait, Lucas drew a picture of himself falling out ofa tree just before he broke his arm.

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Claudia Shuster

Writing and Reading Stories

After drawing, the children write or dictate theirstories and share them with the teacher by readingthe completed story. Some of the powerful themes ofthe children's stories include sadness at the loss of abeloved relative or pet; fears about illness, travelingon an airplane, being in the dark, shadows on thewall, or the "boggie man"; or anger at perceivedmistreatment by siblings. For example, Gena dictated,"I don't like it when my sister says, 'I wish I cansmack you,' and I don't like when my sister says 'Ihate you,' and I hate my sister sometimes. I don'tlike when my mom yells at me, and I don't like whenI don't get what I want. But you don't get what youwant when you want it."

Sharing in Story Circle

The process culminates in Story Circle when thechildren share and discuss their work with theirclassmates. During Story Circle, modeled after theclass meetings described in the Responsive Class-room model (Charney, 1992), the children's class-mates are encouraged to ask questions and makethoughtful comments. Story Circle provides all thechildren with many opportunities to share theirexperiences and emotions with their peers and to

Figure 2. Children drawing self-portraits while teacherscaffolds.

learn about and empathize with the experiences andemotions of others. When Evan told about his greatsadness in his story describing the time his Mom gotrid of his cat (because it had fleas), his teacherpraised the detailed drawing he made of his cat. She

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suggested that hanging a drawing like that in his roomcould help him to remember his cat. Several otherchildren chimed in with similar stories about having aphotograph of a grandparent no longer alive ormaking a picture of a lost pet, for example.

Addressing Multiple Intelligences

The process described above enables children torepresent their emotions and experiences in multipleways. Children with a strong bodily-kinestheticintelligence are likely to be especially effective inmaking facial expressions that reflect their emotionsand be more interested in observing themselves in themirror. These abilities may lead these youngsters tocreate especially powerful self-portraits (see Figures3, 4, and 5).

Figure 3. Child's self-portrait of himselffeeling sad.

Other children with more strength in linguisticintelligence are likely to focus on sharing elaboratestories about their experiences or writing about them.In a story, Cindy dictated, "I got lost in the circus.And I went with another woman to the desk. And Iwent to the restaurant in the circus. I felt very, very,very sad, and I wanted my cousin Ryan and my othercousin named Charlie. It was my saddest day of myentire life." Writing his story, Jose described not

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being able to ride his bike "because I didn't know itwas thundering outside. My bike was out there. Iwas afraid it was going to hit lightning but I waslucky. It almost did, but it didn't."

Figure 4. Child's self-portrait of himselffeeling angry.

Figure 5. Child's self-portrait of herself feeling scared.

290 Claudia Shuster

Children who have a strong spatial intelligence arelikely to be interested in communicating their feelingsin their drawings, especially in the details of theiraction pictures. For example, Evan drew a picture ofhis family picnic showing all seven members of hisfamily including his mother (whom he drew from therear on a ladder picking apples for the apple pie) andhimself taking a nap on a blanket (see Figure 6). Indrawing her action picture of feeling scared on thefirst day of school (because she did not know any-one), Carol drew many short yellow and brown linesdepicting children seen from above as they lined upwith their new classmates for the flag raising cer-emony. The drawing appears to be a powerful repre-sentation of their anonymity from her perspective.

Figure 6. Child's action picture of his family picnic.

The Teacher's Ongoing RoleScaffolding Strategies

The active role that teachers play in interacting withchildren to support their development is calledscaffolding (Wood & Middleton, 1975; Wood, Bruner,& Ross, 1976). Teachers scaffold children's develop-ment and learning by providing structures that supportthem to stretch their understanding beyond the levelat which they've been functioning on their own.Vygotsky described this concept as the zone ofproximal development (Vygotsky, 1986).

7

During the process described above, the teacher plays apivotal role by using scaffolding strategies thatsupport the children's efforts in four specific ways:

Setting a Positive Emotional Tone

The teacher creates a positive emotional tone whenshe conveys warmth, respect, and a listening attitudethrough eye contact and other body language, voicetone, and physical contact as appropriate. She alsoidentifies, accepts, and shows interest in thechildren's feelings. For example, when the childrenhesitate to reply, the teacher might say in a gentletone, "Take your time; we're all angry some of thetime." When a child mimics the angry feeling in thephotograph by making a furious grimace, the teacherobserves with a serious demeanor and might say,"Wow, what a fierce expression. Everybody willknow you're angry. It's important to be able to sharehow we are feeling, and our face shows how we arefeeling." When Jose shared his anger at not beingable to ride his bike on a rainy day, the teacherresponded with a serious expression and said, "I canunderstand how angry you were because youcouldn't ride your bike."

In another situation when a child described beingfrightened by an adult who popped out of a closetunexpectedly at Halloween, the teacher responded ina thoughtful tone, "When something happens that youweren't expecting, it feels scary."

Building Shared Understanding

The teacher shows how carefully she has beenlistening and builds mutual understanding with thechildren when she repeats the child's ideas in thechild's own words or restates the child's ideas. Shemay try to add clarity by describing what she thinksthe child is sharing and representing. Then she mayask the child to confirm, expand, and/or refine herown restatement. Occasionally the teacher will alsosummarize the child's statements to provide amemory for the child and his peers. For example, theteacher asked the children to review their examples,"So we've been talking about feeling scared. Firstyou, Maria, talked about [teacher hesitates to encour-age Maria to repeat herself] and Maria said, "Scared

Emotions Count 291

of the dark." The teacher continued, "Then you,Evan, shared." Evan remembered and repeated"When my baby brother had a bad dream"; and theteacher replied, "That can be very scary" [acknowl-edging these experiences as frightening].

When a child indicated that he liked the curved lineson either side of the smiling mouth of his classmate'shappy portrait because they conveyed her happiness,the teacher asked all the children to smile. Then shehad them feel to see if they had the same lines formwhen they smiled, and observe their friends to see ifthey also had the same curved lines appear on theirfaces.

Extending Understanding

The teacher extends the children's understanding oftheir feelings and experiences and those of otherswhen she asks meaningful, open-ended questions tostimulate, provoke, expand thinking, and avoid limitingconversation to a sense of a "right" answer. Mariashared a story about feeling scared that she was leftalone when (from her perspective) her father washiding in the garage. When she told the class that shelet her father know that she didn't want him to dothat again, the teacher emphasized that Maria'stelling her dad how she felt was important and askedif he had hidden again after the first episode. Whenthe child responded that he had not repeated thisbehavior, the teacher rejoined, "when we let peopleknow how we are feeling and what we don't like, wecan make a difference."

Supporting Empathy and Mutual Respect

The teacher supports the children's feelings ofempathy and mutual respect by identifying commonelements in their feelings and experiences and byencouraging dialogue among the children, observingand not intervening unless necessary during theirconversations. For example, one child shared that shewas scared on the first day of school because "youdon't know the teacher...you might miss yourmother." The teacher encouraged other youngsters toshare their fears about the first day of school, and agirl told about not knowing any of the children in herclass and not knowing the principal.

S

When a child shared his detailed drawing of a cat hehad lost, the teacher emphasized the significance ofhis creating and displaying a picture that remindedhim of his beloved pet. Then she encouraged otherclassmates to share strategies they used to rememberlost loved ones. Youngsters shared their ideas ofdisplaying a photograph of a grandparent, a paintingof a dog that died, and so forth.

As the teacher supports the children by using thesescaffolding strategies, the children themselves beginto emulate her and use the same strategies to supporteach other. For example, when Maria shared that herfather was hiding in the garage, another child asked athoughtful, open-ended question, "Why was he hidingon you?" and attentively awaited a reply. A secondchild said that Maria's story reminded him of Evan'sstory of finding himself alone in his home except thatthe feelings at the end of the two stories weredifferent. In Maria's, she was scared and neverlearned why her dad was hiding. In Evan's, he washappy because he learned the reason for his parents'absence: they hid and then reappeared to surprisehim on his birthday.

Conclusion

The classroom process described above provideschildren with many opportunities to recognize andshare their emotions in multiple ways and helps themto express emotions and experiences that are espe-cially significant to them. Examples of children's self-portraits prior to their participating in the process,contrasted with examples of children's self-portraitsonce they began to participate in the process, presentpowerful images of the development of the young-sters' representations of themselves and their emo-tions (see Figures 7 and 8). This work suggests thatwhen children are given ongoing opportunities toshare their experiences and express their relatedemotions through storytelling, drawing, writing, andsharing with their peers in Story Circle, they canmore meaningfully integrate their experiences andrepresent them. Through this process, their contribu-tions during Story Circle suggest that they also aredeveloping both greater understanding of themselvesand greater empathy for othersthe hallmarks ofemotional intelligence.

292 Claudia Shuster

Figure 7. Adam's self-portrait before participatingin the process.

Figure 8. Adam 's self-portrait during his participation inthe process.

References

Berk, L. E., & Wins ler, A. (1995). Scaffolding children'slearning: Vygotsky and early childhood education.Washington, DC: National Association for the EducationofYoung Children. (ERIC Document No. ED384443)

Charney, R. S. (1992). Teaching children to care: Manage-ment in the responsive classroom. Greenfield, MA:Northeast Foundation for Children. (ERIC Document No.ED369531)

Edwards, C. (1993). Partner, nurturer, and guide: The role ofthe Reggio teacher in action. In C. Edwards, L. Gandini, &G. Forman (Eds.), The hundred languages of children: TheReggio Emilia approach to early childhood education(pp. 151-169). Norwood, NJ: Ablex. (ERIC Document No.ED355034)

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Risemberg, R., & Zimmerman, B. (1992). Using mime toimprove children's writing of autobiographical narratives.Journal of Research and Development in Education,25(4), 232-239.

Shuster, C., & Rarey, M. (1998). Observing and identifyingyoung children's approaches to learning. Paper pre-sented at the National Association for the Education ofYoung Children Annual Meeting, Toronto, Canada.

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Lilian Katz SymposiumChampaign, Illinois November 5-7, 2000

Publication Permission Form

l/We accept an invitation from the ERIC Clearinghouse on Elementary and Early Childhood Education to publish the

following paper in the Lilian Katz Symposium proceedings (in both print and electronic formats):

Paper Title: tr-.) t 0 Co, 1-- dal vc 11.s

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On behalf of all authors, I state that all necessary permissions related to the above paper were obtained, and that I

indemnify the ERIC Clearinghouse on Elementary and Early Childhood Education (ERIC/EECE) against all claims, suits,

or other damages that ERIC/EECE may sustain by reason of any violation on my part of any copyright or privacy right.

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Ellen SwengelSymposium CoordinatorERIC Clearinghouse on Elementary and Early Childhood EducationUniversity of Illinois at Urbana-ChampaignChildren's Research Center51 Gerty DriveChampaign, IL 61820-7469Telephone: 217-333-4123Fax: 217-333-3767E-mail: eswengel@zauc.edu

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